24 September 2010
19 September 2010
16 September 2010
Misia Sert (1872-1950) is usually remembered as a patron of Parisian artists, writers and musicians. Born Maria Zofia Olga Zenajda Godebska she was the daughter of Polish sculptor, Cyprian Godebski and granddaughter of Belgium cellist Adrien François Servais. Sert went on to be an accomplished pianist and posed for many of the artists who attended her Salons. She was the model for Henri de Toulouse-Lautrec's poster of La Revue blanche which shows her on skates. La revue was an arts magazine that was co-published by Sert's first husband Thadée Natanson. It was her third husband Jose-Maria Sert y Badia, the Spanish muralist whose infidelities drove her to create miniature bejeweled trees. The artist and the muse had a long fascination with rock crystal. In the 1920's, Sert when left by her husband began designing small forests of rock crystal, glass beads, silver foil and semi precious gems. Details of one pair comprised of rock crystal, glass beads and coral bits were photographed by Lisa Erickson.
11 September 2010
05 September 2010
September marks the annual Our Lady of Miracles Festa celebration in Gustine, California. The tradition of festas was brought to America by the Portuguese who immigrated here primarily from the Azores and Madeira Islands. Combining religious symbolism and history with social events they are observed in Portuguese American communities throughout California, Hawaii and New England. Featuring traditions of food, music and costume the festivities last several days. The photo is a detail of American Russell Lee's (1903-1986) image from a 1942 Festa of the Holy Ghost in Santa Clara, California of a Festa Queen and her court. Depicting Portuguese jewelry and costume of the Minho region is Auguste Racinet's late nineteenth century book, Le Costume Historique. The Laura Costa illustration of Azorian costume is a part of a Portuguese mid-twentieth century sewing machine promotion that documented national and colonial costumes.
03 September 2010
Porcelains and Peacocks celebrates one year with an unbirthday. The word was coined by Lewis Carroll (1832-1898) in Through the Looking Glass when Humpty Dumpty wears a cravat that was given to him as an "urn-birthday" present. Alice is shown with Humpty in the 1955 illustration by Roberta Paflin. Cravats are believed to have originated in seventeenth century Croatia. The earliest visual recording of the fashion is a 1622 portrait of the Baroque Croatian poet Ivan Gundulić (1589 - 1636). Humpty-Dumpty of the nursery rhyme was actually the nickname of a large cannon that figured in the English Civil War (1642-1649). The Royalist fort of Colchester was protected by the cannon which was positioned on a high wall. During the siege by the Parliamentarians the wall was damaged and Humpty Dumpty fell to the ground. The Royalists, "All the King's Men" tried to raise the cannon to another part of the wall but it was too heavy and they could not put Humpty-Dumpty together again. American W. W. Denslow depicted the rhyme in his 1901 Mother Goose.